“…Walnut Street Theater absolutely knocked it out of the park. The set is magnificent and unlike anything you have ever seen before- audiences truly delve into the mind of Christopher Boone through a magical set that uses projections and stage magic. The design and the use of props is incredible and adds another entertaining layer to an already impressive story.”Metro USThe Curious Incident of the Dog in the Night-Time, Walnut Street Theatre

“On Broadway, the play was most remarkable for its staging, an evocation of the boy’s mind through design… The Walnut’s production design is equally brilliant — an obviously close collaboration among Roman Tatarowicz (set design), Ryan O’Gara (lights), Christopher Ash (projections), and Christopher Colucci (sound). An intricate, constantly morphing grid of flashing, multicolored lights, reflecting Boone’s often overloaded neural circuitry, combines with ethereal projections of numbers, stars, and landscapes to magical effect.”Philadelphia InquirerThe Curious Incident of the Dog in the Night-Time, Walnut Street Theatre

“…the house may be the show’s star. The kitchen, TV room, and bedroom rule the roost in discrete areas, suffocating in their tidy practicality. The pastel décor is soporific. Huge and absurdly useless period lamps flank the bed like ceremonial canopic jars. It makes you want to tear your hair out; you know why Watson’s Bombeck feels homeless in her own house.”Philadelphia InquirerAt Wit’s End, Bristol Riverside Theatre

“Set designer Roman Tatarowicz transforms the Steinbright Stage into an industrial panorama. Overhead, rusted girders arch over the hardscrabble saloon. Behind a corner wooden bar, with its tidy stock of liquor bottles, is a rear wall of whorled factory glass, where we glimpse the moving shadows of characters about to enter the bar.”Broad Street ReviewSweat, People’s Light

“…The Other Place is shrouded in mystery. The stage, thanks to set designer Roman Tatarowicz, is an eerie stream of blue-gray neurons cascading along the walls and back screen. Implanted in them are a few household articles, like forgotten memories from a faded past.”The Philadelphia InquirerThe Other Place, Walnut Street Theatre

“…a dandy set by Roman Tatarowicz.”The New York TimesApostasy, Urban Stages, NYC

“…Roman Tatarowicz has grasped the fundamental principle of elegant simplicity, transforming Bristol Riverside’s stage into a striking, Meier-inspired palace of an apartment. A trio of columns supports interlocking slabs, all of which sparkle a pristine white and glow in the azure and amber hues of Ryan O’Gara’s lighting.”The Philadelphia InquirerA Raw Space, Bristol Riverside Theatre

“The set design by Roman Tatarowicz… is brilliantly conceived and executed. Old set pieces are strategically stacked; swords and rapiers in one box, overturned chairs, platforms, stairs, a princely chair, theatre seats on the side, a piano, a table, some chairs, a dilapidated proscenium arch, torn curtains. Everything is perfectly placed…”Stage MagazineBarrymore, Bristol Riverside Theatre

“Roman Tatarowicz has supplied plenty of good sets for Capital Rep, but this dramatic, simple whitewashed frame might be his best work yet.”Times UnionCrowns, Capital Rep.

“It’s an inviting scene, to be sure. The oddly angled doors of Roman Tatarowicz’s gleaming white set suggest the women hired a cubist painter as their interior designer. And on the back wall, in blank frames that serve as canvases for Alex Koch’s video projections, are choice bits of the great art works that Gertrude shrewdly collected. In this room, surely, there will be witty talk.”Variety27 Rue de Fleurus, Urban Stages, NYC

“Roman Tatarowicz’s set design is, to use that word again, magnificent. The place becomes a Spanish dungeon.”Times UnionMan of La Mancha, Capital Rep.

“Roman Tatarwicz is deserving of the highest praise for providing a marvelously simple, yet elegant, stage design for the three distinct settings of this classic comedy. The two interiors, first of Moncrieff’s flat and later in the third act of the Conservatory at the Manor House work perfectly. My favorite was the designer’s splendid English garden setting for the second act. Stage hands work the flats, so the stage literally opens out, like a child’s folding picture book…The sets, as said above, are magnificent…”CurtainUp.comThe Importance of Being Earnest, Jean Cocteau Rep. NYC

“Though Roses could indeed work without scenery, Roman Tatarowicz’s book-covered set with its handsome matching desk and chairs adds immeasurably to the pleasures of this production…”CurtainUp.comRoses in December, Urban Stages, NYC

“Blue Heron Theatre and Mirth A Theatre Company’s production is directed by Bruce Levitt and features puppets by Ralph Lee and a functional and evocative set designed by Roman Tatarowicz. One has the feeling it is the framework created by Levitt, Lee and Tatarowicz that provides the support which makes the actors’ performance so powerful.”Curtainup.comThe Puppet Master of Lodz, Blue Heron Theatre, NYC

“Director Keith Baker handles the tonal shifts well, making the play feel unified. He’s helped by Roman Tatarowicz’s striking set design, which rotates a few set pieces on a turntable against a wide-open background.”Talkinbroadway.comUP, Bristol Riverside Theatre